Популярная музыка Китая в контексте социокультурных процессов современности
| Rok vydání: | 2022 |
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| Předmět: | |
| DOI: | 10.24412/2070-075x-2022-2-35-43 |
| Popis: | В статье дан обзор истории китайской популярной музыки в соответствии с вехами социокультурных процессов, происходящих в стране. Определяются основные музыкальные особенности каждого периода развития. Выявляются тенденции взаимодействия национальной специфики китайской популярной музыки с традициями Европы, Японии, Америки. Доказывается, что тенденции глобализации привели к большему распространению европейской и американской музыки, что приводит к утрате национального своеобразия поп-музыки в Китае и вступлению ее в эру диверсифицированного развития. Based on the milestones of China’s historical development and the sociocultural processes of the 20th and 21st centuries, the author of the article outlines the ways of the formation of Chinese popular music and gives a general description of the three periods of its development. The first one (1917 – the end of the 1940s) developed from school songs, which became the starting point for the development of musical and aesthetic culture in modern musical China and were composed by borrowing Western or Japanese melodies with the addition of Chinese text, to the jazz entertainment industry, leading to an increase in consumer demand for popular music available in cinemas, theaters and dance halls, and combining foreign music with folk tradition. The second period (1949–1980) saw the foundation of the People’s Republic of China, when politics and culture merged together, which led to the decline of the cultural industry, and the praise in the songs of the motherland and political leaders. The pop music of this period in mainland China was politicized and developed slowly. Taiwan and Hong Kong became the main regions for the development of Chinese pop music. The third period, from the 1980s, is associated with reforms, openness, rapid economic development and a gradual liberation of consciousness, which contributed to the rise of pop music in China, with its reliance on European and American influences of disco, R&B, rock styles. Chinese pop music has gone from imitating songs from Hong Kong and Taiwan to absorbing European and American traditions. The author proves that the trends of globalization required the spread of a large amount of European and American music, which led to the loss of the national identity of pop music in China and its entry into an era of diversified development aimed at meeting the needs of the audience and involving the combination of economic and aesthetic practices. These processes, characteristic of the music of Europe and America, can rightfully be attributed to the popular music of China. |
| Databáze: | OpenAIRE |
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